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1 Abstract
This paper describes how to use topos theory to analyze pieces of music.
Specifically, it aims to do the following things:
• discuss the reasons for studying the topos SetsT , the category of sets
equipped with an action by the monoid T of affine maps on Z/12Z
preserving the C-major triad,
2 Acknowledgments
This paper was made possible by the financial support of the University of
Chicago VIGRE program, the invaluable assistance of my advisor Thomas
Fiore and my graduate student mentor John Lind, as well as the valiant
administrative efforts of Peter May.
3 Introduction
3.1 Why Does Music Theory use Mathematics?
Music theory is a field of study which analyzes the style and mechanics of
music. A central concern of music theory is locating patterns in pieces of
music and providing a system in which listeners can acquire a better under-
standing for a piece of music, and in which they can describe this method of
comprehension to others. Mathematics is a natural tool to apply to this field
1
of music theory, as it gives us a set of analytical tools with which to study
both local and global patterns that arise in a piece of music. Examples of
fields of music theory which use mathematics are set theory, which breaks
pieces of music into small cells of notes that “reoccur” throughout the piece
in different guises, and transformation theory, which seeks to study which
transformations – e.g. inversion or transposition by 5 – are central to a piece
of music.
In this paper, we will explore the topos of triads SetsT of triads and
show how this sophisticated object can lead to some deep music-theoretical
insights, by recreating and expanding on Thomas Noll’s study of Scriabin’s
Etude Op. 65, No. 3.
2
Semitone encoding
0 1 2 3 4 5 6 7 8 9 10 11
C C] D E[ E F F ] G A[ A B[ B
which orders the pitch classes by the increasing frequency of their represen-
tatives within one octave, or the circle of fifths encoding,
which begins with the pitch class C and continually advances by a per-
fect fifth. In this paper, we follow Noll’s work and use the circle of fifths
encoding.
3
Definition 5. A tone perspective is an affine map f : Z/12Z → Z/12Z,
i.e. f is of the form f (x) = t + s · x. We denote such maps by t s, and call
the collection of all such maps A.
It bears noting that this collection forms a monoid2 by defining the
0
product of two tone perspectives as the composition of their maps t s ◦ t s0 →
0
t+s·t s · s0 .
4
Proposition 3. Every triad is isomorphic to a triad in prime form via a
map in the T /I-group.
Proof. For a given triad T = {x, y, z}, we can get the set of T ’s differences,
{y − x, z − y, x − z}. Now, in this set, we have one of two possibilities:
0 ≤ y − x,
y − x ≤ z − y = (z − x) − (y − x), and
(z − x) − (y − x) = z − y ≤ x − z = 12 − (z − x).
Conversely, if we have a descending chain, we apply the inversion map
to T to get the new triad T 0 = {−x, −y, −z}; if T had a descending chain,
T 0 has an ascending chain as multiplication by -1 reverses the inequalities.
So we are done by the above proof.
5
T{0,2,4} : {0 0, 0 6, 0 1, 0 7, 2 0, 2 6, 4 5, 4 11, 4 0, 4 6}
T{0,2,6} : {0 0, 0 6, 0 1, 0 7, 0 3, 0 9, 2 0, 2 6, 2 2, 2 8, 6 3, 6 9, 6 4, 6 10, 6 0, 6 6}
T{0,3,6} : {0 0, 0 1, 0 2, 0 4, 0 5, 0 6, 0 8, 0 9, 0 10, 3 0, 3 4, 3 8, 6 0, 6 2, 6 3, 6 4, 6 6, 6 7, 6 8, 6 10, 6 11}
T{0,4,8} : {0 k, 4 l, 8 m : k, l, m ∈ Z/12Z}
We omit the monoids for {0, 2, 5}, {0, 2, 7}, {0, 3, 7} here for reasons we
will demonstrate in the next subsection.
f ◦ g ◦ f −1 (f (x)) = f (g(x)) ∈ X 0 ⇒ f ◦ g ◦ f −1 ∈ TX 0
⇒ TX 0 ⊇ f ◦ TX ◦ f −1
h ◦ f (x) ∈ X 0 ⇒ f −1 ◦ h ◦ f (x) ∈ X
⇒ f −1 ◦ h ◦ f ∈ TX ⇒ TX 0 ⊆ f ◦ TX ◦ f −1 .
Given this proposition and the corollary from the earlier subsection on
prime form, we only have at most 12 possible distinct triadic monoids; below,
we show that there are exactly 8 non-isomorphic triadic monoids.
6
Proposition 5. The following is a complete list of those monoids which can
occur as a triadic monoid.
we can see that these are also isomorphic (though not via conjugation by
an affine transformation of Z/12Z) via the map 0 5 7→ 2 11, 1 0 7→ 0 0, 0 0 7→ 1 0
from the generators of T{0,1,2} to the generators of T{0,1,5} .
None of the remaining 8 monoids are isomorphic, as they are all of dif-
ferent cardinalities (see the chart in the earlier subsection for an explicit
description of all such monoids.)
7
• If b − a ∈ {2, 6, 10}, then (a, b) remains dissonant under any affine
automorphism of Z/12Z.
• we require only that there is some bijection between the set T and
the set of consonant intervals generated by a triad, or
Proposition 7. The major and minor triads and the suspended second
chord – i.e. all chords of the forms {0, 1, 4}, {0, 3, 4} and {0, 1, 2} – are
the unique triads X (up to translation) such that there is a bijection between
TX and the set of consonant intervals generated by that triad X.
{0, 1, 2}, {0, 1, 3}, {0, 1, 4}, {0, 1, 5}, {0, 1, 6}.
8
and their associated chords reached by translation and multiplication by 5
or 7. (We check {0, 1, 5} here because while it is isomorphic to {0, 1, 2}, it is
not conjugate-isomorphic to it, and some of our techniques will rely on this
property.) It thus suffices to check by hand these five cases.
So. From the chart earlier, |T{0,1,3} | = 4, but by the consonance obser-
vations above, under any automorphism the number of consonant intervals
will be at least 5, as (0, 0), (1, 1), (3, 3)(0, 3), (3, 0) are all invariant under
any automorphism of Z/12Z. So there cannot be any such association be-
tween {0, 1, 3}’s intervals {or any associated triad} and its associated triadic
monoid. Similarly, |T{0,1,6} | = 7, but by the consonance observations above,
under any automorphism the number of consonant intervals will be at most
6, as (0, 6) and (6, 0) are dissonant under any automorphism of Z/12Z. So
there also cannot be any such association between {0, 1, 6}’s intervals and
its associated triadic monoid. As well, for {0, 1, 5}, |T{0,1,5} | = 5; but the
intervals (0, 0), (1, 1), (5, 5), (1, 5), (5, 1) will all remain consonant under any
affine isomorphism, while (0, 1) is consonant under inversion, (0, 5) becomes
consonant under multiplication by 5, and (5, 0) becomes consonant under
multiplication by 7. So under any transformation there are at least 6 con-
sonant intervals in any triad with triadic monoid ∼ = T{0,1,5} , and thus those
triads also fail to satisfy our condition.
For {0, 1, 2}, there are precisely 5 consonant intervals {(0, 0), (0, 1), (1, 1),
(1, 2), (2, 2)} and 5 tone perspectives fixing the triad, {0 0, 0 1, 1 0, 2 11, 2 0}, so
such a correspondence exists for this specific triad: however, multiplication
by 5,7 or 11 will decrease the number of such consonant intervals, as a
perfect fifth becomes a dissonant interval under any non-translation affine
isomorphism.
{0, 1, 4} has a similar correspondence between its consonant intervals
{(0, 0), (0, 1), (0, 4), (1, 1), (1, 4), (4, 0), (4, 1), (4, 4)} and its tone perspectives
{0 0, 0 1, 0 4, 1 0, 1 3, 4 8, 4 9, 4 0}: also, the number of consonant intervals for this
triad is constant under inversion, as the perfect fifth (0, 1) which becomes
dissonant is balanced out by the perfect fourth (1, 0) which becomes con-
sonant. Under multiplication by 5 or 7, however, this doesn’t occur, so
translations of (0, 1, 4) and the inversion of (0, 1, 4), the minor chord (0, 3, 4)
are the only triads associated to T{0,1,4} that have a 1-1 correspondence
between their consonant intervals and this triadic monoid.
Proposition 8. The major triad {0, 1, 4} and the triad {0, 1, 3} are the only
two triads up to affine isomorphism such that the interval associated to any
tone perspective in their triadic monoid via the map
t
s → (t, t + s)
is consonant.
Proof. From proposition 4, we have that the image of a tone perspective t s
under conjugation by a translation map is (t−(s−1)·x) s, under conjugation by
9
multiplication by 5 is 5t s, and under conjugation by multiplication by 7 is
7t s; so in every case we have that, as
s + t − t = (t − (s − 2) · x) − (t − (s − 1) · x) = 5t + s − 5t = 7t + s − 7t = s,
10
choices for the following elements depending on our specific triadic monoid.
So how many such maps exist?
If we choose to look at the specific T-actions defined on the generators
0
of T by t s · x = t s(x), for any t0 , we then have 123 possible actions of
interest for every monoid not T{0,1,4} , and in the case of at least half of the
monoids, quite a few more, as we can send each generating element to 12
other tone perspectives. As T{0,1,4} is generated by just 2 elements, however,
it has a comparatively small and easily understood family of 144 such affine
actions. This “minimality” is a characteristic that uniquely characterizes
the family of triads affine isomorphic to the C-major chord, as they are the
unique triads with associated triadic monoids generated by ≤ 2 elements:
furthermore, this mathematical property serves to motivate our next area
of study, the collection of all 144 such T-actions.
Given this notion, a natural question arises: what triads can be expressed
as subactions of some µ[m, n], and which triads can be expressed as minimal
subactions (under the ordering of inclusion)?
Proof. Note first that any triads affine isomorphic to {0, 1, 2}, {0, 1, 3},
{0, 1, 5}, {0, 1, 6}, {0, 2, 4} are not preserved by any tone perspectives t s
for s ∈ {3, 8}, and so no µ[m, n] action can preserve these triads.
Conversely, to tell if a given triad can be fixed by some µ[m, n], it suffices
to check all of the µ[m, n] such that m 3 and n 8 are in its triadic monoid: so,
11
3. to see if {0, 3, 6} is a minimal subaction, it suffices to check µ[6, 6] or
µ[6, 3], and finally
6 SetsT as a Topos
6.1 Definition of a Topos
Definition 12. An elementary topos, or simply a topos, is a category
E with the following three properties:
• E is cartesian closed.
A /∗
f i
X /Ω
χA
is a pullback square.
To illuminate what’s going on, we use the example topos Sets, where
Sets is the category with objects all sets and arrows all functions between
sets.
12
Proof. This means that for any sets A, X with an injection of A into X,
there must be a unique function χA such that the diagram
A / {1}
f i
X / {0, 1}
χA
is a pullback square.
In the case of Sets, this unique function is the characteristic function
of A, as we show here: because χA (A) = {1}, we have that the square
commutes. Also, for any other function α such that α(A) = {1}, if there
exists a x ∈ X such that χA (x) = 0 and α(x) = 1, then the set α−1 (1) with
inclusion map g : α−1 (1) → X has no map h into A such that the triangle
Z
h
A
g
f
X
commutes.
So the function such that the earlier square is a pullback square is unique:
therefore, i : {1} → {0, 1}, i(1) = 1 is the subobject classifier of Sets.
Proposition 11. SetsT has a subobject classifier. Namely, it has the sub-
object classifier i : {T} → Ω, with Ω = {T, P, L, R, C, F} consisting of all of
the left ideals of T, with the T-action ω : T × Ω → Ω, ω(m, B) = {t ∈ T :
t ◦ m ∈ B}
13
T : {0 0, 0 1, 0 4, 1 0, 1 3, 4 0, 4 8, 4 9}
O
P : {0 0, 0 4, 1 0, 1 3, 4 0, 4 8, 4 9}
3 kVVVV
hhhh VVVV
hhhhhhh VVVV
hhh VVVV
hhhh VV
L : {0 0, 1 0, 4 0, 1 3, 4 9} R : {0 0, 0 4, 1 0, 4 0, 4 8}
kVVVV hhh3
VVVV hhhh
VVVV hhh
VVVV hhhh
VV hhhh
C : {0 0, 1 0, 4 0}
O
F : {∅}
t|ν|
|ν| / {T}
f i
χ|ν|
|µ| /Ω
1. Given that we want this diagram to commute, we need our arrow χ|ν|
to be equivariant under the action of T – i.e. that (∀x ∈ |µ|)(∀t ∈
T), t · χ|ν| (x) = χ|ν| (t · x).
2. Also, because this diagram commutes, we have that (as i ◦ t|ν| (|ν|) =
{T},) χ|ν| ◦ f (|ν|) must be equal to {T}.
3. Furthermore, for any Z a T-set with z1 : Z → |µ| such that the square
with vertex Z commutes, there must be a unique map z2 : Z →
|ν| making the diagram below commute, as χ|ν| makes this square a
pullback square.
14
Z
tZ
z2
t|ν| '
|ν| / {T}
z1
f i
χA
|µ| /Ω
f i
χ|ν|
|µ| /Ω
α
15
we have that α and χ|ν| agree on |ν| = α−1 (T) = χ−1
|ν| (T) because the square
commutes.
As well, ∀x ∈ |µ|, we have that
T P L R C F
01 T P L R C F
00 T T T T T F
10 T T T T T F
40 T T T T T F
13 T T T R R F
49 T T T R R F
48 T T L T L F
04 T T L T L F
To see the other containment, note that if ∃h ∈ α(x) such that h·x ∈
/ |ν|,
then we either have
16
1. j ◦ T = T
2. j ◦ j = j
3. j ◦ ∩ = ∩ ◦ (j × j),
where ∩ : Ω × Ω → Ω is the intersection map
To find the Lawvere-Tierney topologies, we must first define how T acts
on Ω; with that done, we simply find all of the possible subobjects of Ω and
check which characteristic arrows satisfy the axioms to be Lawvere-Tierney
topologies.
Definition 15. T acts on Ω by left composition: i.e. given a left ideal X of
Ω and an element t ∈ T, we define t · X as {t ◦ x : x ∈ X}.
Proposition 12. Under the action of T on Ω, the subobject classifier of
SetsT , there are 22 possible subobjects of Ω.
Proof. Pick some subobject of Ω, V , and assume first that F ∈
/ V.
If T is not a member of V , then we know that V must be {∅}, as 0 0
sends any value that is not F to T.
Conversely, if T is a member of V , then we have either
• C ∈ V , and thus that L, R ∈ V , as 1 3, 4 8 send C to L and R: so V is
either {T, L, R, C} or {T, P, L, R, C}
• C∈
/ V , and so either
– L, R ∈ V , and so we have either {T, L, R} or {T, P, L, R}
– L ∈ V and R ∈
/ V , and so we have either {T, L} or {T, P, L}
– R ∈ V and L ∈
/ V , and so we have either {T, R} or {T, P, R}
– R, L ∈
/ V , and so we have either {T} or {T, P}.
This gives us 11 subobjects. Also, for any subobject V not containing F,
we can create a new subobject V 0 = V ∪ F, as every map in T fixes F. This
gives us an additional 11 new subobjects, leaving us with 22 subobjects in
total.
j ◦ (R ∩ P) = j ◦ R = T, and
17
∩ ◦ (j(R) × j(P)) = ∩ ◦ (T × P) = P,
so the characteristic arrows of all of these subsets fail to be Lawvere-Tierney
topologies.
The characteristic arrow of {T, L, R, P} has
j ◦ (R ∩ L) = j ◦ C = P, and
∩ ◦ (j(R) × j(L)) = ∩ ◦ (T × T) = T,
so it also does not satisfy the Lawvere-Tierney topology axioms; finally, we
have that the set {∅} cannot be a Lawvere-Tierney topology, as j ◦ T is F.
Also, for any of the sets described above, unioning the set {F} does
not change the arguments made above; so we have only six sets left whose
characteristic arrows could possibly satisfy the Lawvere-Tierney axioms,
{T, P, L, R, C, F}, {T, P, L, R, C}, {T, P, L}, {T, P, R}, {T, P}, {T}.
jF , jC , jL , jR , jP , jT
with the subscript indicating the smallest (with respect to inclusion) ideal
in the given subobject.
18
χ{0,3,6} for the action µ[6, 3] χ{0,4,8} for the action µ[0, 4]
T if x ∈ {0, 3, 6} x ∈ {0, 4, 8}
P x ∈ {∅} x ∈ {∅}
L x ∈ {2, 4, 7, 8, 10, 11} x ∈ {∅}
R x ∈ {9} x ∈ {1, 2, 3, 5, 6, 7, 9, 10, 11}
C x ∈ {1, 5} x ∈ {∅}
F x ∈ {∅} x ∈ {∅}
(It is interesting to note that these characteristic functions are in fact
independent of the choice of µ[m, n], for those triads that are subactions of
more than one µ[m, n]: i.e. the characteristic arrow of (0, 3, 6) in µ[6, 6] is
the same function as the characteristic arrow of {0, 3, 6} in µ[6, 3].)
So this gives us a set of characteristic arrows with which to study pieces
of music; but do they actually tell us anything? We first notice a few interest-
ing properties about how these arrows and our Lawvere-Tierney topologies
interact, and then analyze a piece of music below as a demonstration of the
efficacy of the system of analysis we have built up.
19
octatonic systems as sets corresponding to |JP ({0, 1, 4}|, |JL ({0, 1, 4}| and
|JR ({0, 1, 4}|, respectively; for {0, 4, 10}, we get the french augmented sixth
chord, the wholetone and octatonic systems corresponding to |JP ({0, 4, 10}|,
|JL ({0, 4, 10}| and |JR ({0, 4, 10}|. This is fairly unexpected, and gives rise to
some hope that the Lawvere-Tierney topologies are indeed capturing some
notion of topology similar to our own.
T P L R C F
C : χ{0,4,10} 0, 4, 10 6 2, 8 1, 3, 7, 9 5, 11 ∅
G : χ{1,5,11} 1, 5, 11 7 3, 9 2, 4, 8, 10 6, 0 ∅
D : χ{2,6,0} 2, 6, 0 8 4, 10 3, 5, 9, 11 7, 1 ∅
A : χ{3,7,1} 3, 7, 1 9 5, 11 4, 6, 10, 0 8, 2 ∅
E : χ{4,8,2} 4, 8, 2 10 6, 0 5, 7, 11, 1 9, 3 ∅
B : χ{5,9,3} 5, 9, 3 11 7, 1 6, 8, 0, 2 10, 4 ∅
F ] : χ{6,10,4} 6, 10, 4 0 8, 2 7, 9, 1, 3 11, 5 ∅
C ] : χ{7,11,5} 7, 11, 5 1 9, 3 8, 10, 2, 4 0, 6 ∅
A[ : χ{8,0,6} 8, 0, 6 2 10, 4 9, 11, 3, 5 1, 7 ∅
E[ : χ{9,1,7} 9, 1, 7 3 11, 5 10, 0, 4, 6 2, 8 ∅
B[ : χ{10,2,8} 10, 2, 8 4 0, 6 11, 1, 5, 7 3, 9 ∅
F : χ{11,3,9} 11, 3, 9 5 1, 7 0, 2, 6, 8 4, 10 ∅
• The lowest possible truth value C never occurs when the local disso-
nances are evaluated with respect to their local characteristic func-
tions: the truth values are limited to P, L and R for all such local
dissonances.
20
stretched triad with root F is played, and in measure 8-9, the local
dissonance F is played, which has truth value P.) This can be partially
understood by watching the root of the bass triad. Frequently when
the bass chord moves, it moves by a tritone (i.e. 6), a transformation
which is idiomatic to Scriabin’s piece; and two stretched triads with
root notes that differ by a tritone take the same notes to L and R, as
can be seen in the above table. So, in a sense, the preponderance of
L and R truth values can be interpreted as a consequence of having
“consistent” truth values throughout transitions in the piece.
• Looking at the first three distinct root pitches of the bass triads, we can
see that these notes {G, C ] , A} = {1, 7, 3} = {3, 7, 1} form a stretched
triad as well. If we look at the sets
from the previous subsection, we can notice that the notes avoided in
all of these sets, G = 2 and A[ = 8, are precisely those notes which
never occur as root chords of a stretched triad.
21
On a different tack, simply analyzing other pieces of music, or seeing
if it is possible to automatically generate “nice”-sounding pieces of music
by using a technique like parsimonious voice leading to move the left hand
chords and picking tones with high truth values in the treble register, would
be an interesting endeavor to attempt.
22
References
[1] T. Noll. The Topos of Triads. Colloquium on Mathematical Music The-
ory: 2005.
23
10 Analysis of Scriabin’s Etude Op. 65 No. 3
Measure # Stretched Triad Local Pitches
1 − 1.5 G : {1, 5, 11} E : R, A : L
1.5 − 2 C ] : {7, 11, 5} B[ : R, E[ : L
2 − 2.5 G : {1, 5, 11} E : R, A : L
2.5 − 3 C ] : {7, 11, 5} B[ : R, E[ : L
3 − 3.5 G : {1, 5, 11} E : R, A : L
3.5 − 4 C ] : {1, 5, 11} B[ : R, E[ : L
4 − 4.5 A : {3, 7, 1} F ] : R, B : L
4.5 − 5 E[ : {9, 1, 7} C : R, F : L
5 − 5.5 B : {5, 9, 3} G] : R, C ] : L
5.5 − 6 F : {11, 3, 9} G] : R, C ] : L
6 − 6.5 B : {5, 9, 3} G] : R, C ] : L
6.5 − 7 F : {11, 3, 9} G] : R, C ] : L
7 − 7.5 B : {5, 9, 3} G] : R, C ] : L
7.5 − 8 F : {11, 3, 9} G] : R, C ] : L
8−9 B : {5, 9, 3} G] : R, C] : L, F : P
9 − 9.5 E[ : {9, 1, 7} C : R, F : L
9.5 − 10 A : {3, 7, 1} F ] : R, B : L
10 − 10.5 E[ : {9, 1, 7} C : R, F : L
10.5 − 11 A : {3, 7, 1} F ] : R, B : L
11 − 11.5 E[ : {9, 1, 7} C : R, F : L
11.5 − 12 A : {3, 7, 1} F ] : R, B : L
12 − 12.5 F : {11, 3, 9} D : R, G : L
12.5 − 13 B : {5, 9, 3} G] : R, C ] : L
13 − 13.5 G : {1, 5, 11} E : R, A : L
13.5 − 14 C ] : {7, 11, 5} E : R, A : L, G : P
14 − 14.5 G : {1, 5, 11} E : R, A : L
14.5 − 15 C ] : {7, 11, 5} E : R, A : L
15 − 15.5 G : {1, 5, 11} E : R, A : L
15.5 − 16 C ] : {7, 11, 5} E : R, A : L
16 − 17 G : {1, 5, 11} E : R, A : L, C ] : P
17 − 18 C ] : {7, 11, 5} D : R, A : L
18 − 19 G : {1, 5, 11} B[ : R, E[ : L
19 − 21 C ] : {7, 11, 5} E : R, D : R, A : L
21 − 22 C ] : {7, 11, 5} D : R, A : L
22 − 23 G : {1, 5, 11} B[ : R, E : R, E[ : L
23 − 25 C ] : {7, 11, 5} D : R, A : L
25 − 26 C ] : {7, 11, 5} D : R, A : L
26 − 27 G : {1, 5, 11} B[ : R, E[ : L
24
Measure # Stretched Triad Local Pitches
27 − 29 C ] : {7, 11, 5} E : R, D : R, A : L
29 − 30 C ] : {7, 11, 5} D : R, A : L
30 − 31 G : {1, 5, 11} B[ : R, E : R, E[ : L
31 − 33 E : {4, 8, 2} F : R, G : R, C : L
33 − 34 E : {4, 8, 2} F : R, G : R, C : L
34 − 35 B[ : {10, 2, 8} F : R, G : R, C : L
35 − 37 E : {4, 8, 2} F : R, G : R, C : L
37 − 37.5 E : {4, 8, 2} F : R, G : R, C : L
37.5 − 38 B[ : {10, 2, 8} B : R, C ] : R, F ] : L
38 − 38.5 F ] : {6, 10, 4} G : R, A : R, D : L
38.5 − 39 C : {0, 4, 10} E[ : R, D[ : R, A[ : L
39 − 40 F ] : {6, 10, 4} G : R, D : L
40 − 41 C : {0, 4, 10} E[ : R, A[ : L
41 − 43 F ] : {6, 10, 4} G : R, A : R, D : L
43 − 44 F ] : {6, 10, 4} G : R, D : L
44 − 45 C : {0, 4, 10} E[ : R, A : R, A[ : L
45 − 47 A : {3, 7, 1} C : R, B[ : R, F : L
47 − 48 A : {3, 7, 1} C : R, B[ : R, F : L
48 − 49 E[ : {9, 1, 7} C : R, B[ : R, F : L
49 − 51 A : {3, 7, 1} C : R, B[ : R, F : L
51 − 51.5 A : {3, 7, 1} C : R, B[ : R, F : L
51.5 − 52 E[ : {9, 1, 7} E : R, F] : R, B : L
52 − 52.5 B : {5, 9, 3} C : R, D : R, G : L
52.5 − 53 F : {11, 3, 9} F ] : R, A[ : R, D[ : L
53 − 55 B : {5, 9, 3} C : R, D : R, G : L
55 − 55.5 B : {5, 9, 3} C : R, D : R, G : L
55.5 − 56 F : {11, 3, 9} D : R, G : L
56 − 56.5 B : {5, 9, 3} C : R, D : R, G : L
56.5 − 57 F : {11, 3, 9} D : R, G : L
57 − 59 B : {5, 9, 3} C : R, D : R, A[ : R, C ] : L, G : L,
59 − 60 G : {1, 5, 11} E : R, D : R, A : L
60 − 61 C ] : {7, 11, 5} E : R, D : R, B[ : RA : L, E[ : L
61 − 63 G : {1, 5, 11} E : R, A : L, C ] : P
63 − 63.5 G : {1, 5, 11} E : R, A : L
63.5 − 64 C ] : {7, 11, 5}} B[ : R, E[ : L
64 − 64.5 G : {1, 5, 11} E : R, A : L
64.5 − 65 C ] : {7, 11, 5}} B[ : R, E[ : L
65 − 65.5 G : {1, 5, 11} E : R, A : L
65.5 − 66 C ] : {7, 11, 5} B[ : R, E[ : L
66 − 66.5 A : {3, 7, 1} F ] : R, B : L
66.5 − 67 E[ : {9, 1, 7} C : R, F : L
67 − 67.5 B : {5, 9, 3} A[ : R, C ] : L
25
Measure # Stretched Triad Local Pitches
67.5 − 68 F : {11, 3, 9} A[ : R, C ] : L
68 − 68.5 B : {5, 9, 3} A[ : R, C ] : L
68.5 − 69 F : {11, 3, 9} A[ : R, C ] : L
69 − 69.5 B : {5, 9, 3} A[ : R, C ] : L
69.5 − 70 F : {11, 3, 9} A[ : R, C ] : L
70 − 71 B : {5, 9, 3} A[ : R, C ] : L, F : P
71 − 71.5 E[ : {9, 1, 7} C : R, F : L
71.5 − 72 A : {3, 7, 1} F ] : R, B : L
72 − 72.5 E[ : {9, 1, 7} C : R, F : L
72.5 − 73 A : {3, 7, 1} F ] : R, B : L
73 − 73.5 E[ : {9, 1, 7} C : R, F : L
73.5 − 74 A : {3, 7, 1} F ] : R, B : L
74 − 74.5 F : {11, 3, 9} D : R, G : L
74.5 − 75 B : {5, 9, 3} A[ : R, C ] : L
75 − 75.5 G : {1, 5, 11} E : R, A : L
75.5 − 76 C ] : {7, 11, 5} E : R, A : L, G : P
76 − 76.5 G : {1, 5, 11} E : R, A : L
76.5 − 77 C ] : {7, 11, 5} E : R, A : L
77 − 77.5 G : {1, 5, 11} E : R, A : L
77.5 − 78 C ] : {7, 11, 5} E : R, A : L
78 − 79 G : {1, 5, 11} E : R, A : L, C ] : P
79 − 80 C ] : {7, 11, 5} D : R, A : L
80 − 81 G : {1, 5, 11} B[ : R, E[ : L
81 − 83 C ] : {7, 11, 5} D : R, E : R, A : L
83 − 84 C ] : {7, 11, 5} D : R, A : L
84 − 85 G : {1, 5, 11} B[ : R, E : R, E[ : L
85 − 87 C ] : {7, 11, 5} D : R, A : L
87 − 88 C ] : {7, 11, 5} D : R, A : L
88 − 89 G : {1, 5, 11} B[ : R, E : R, E[ : L
89 − 91 C ] : {7, 11, 5} E : R, A : L
91 − 92 C ] : {7, 11, 5} D : R, A : L
92 − 95 G : {1, 5, 11} B[ : R, E : R, E[ : L
95 − 95.5 C ] : {7, 11, 5} B[ : R, D : R, E : R, E[ : L, A : L
95.5 − 96 E : {4, 8, 2} F : R, C ] : R, G : R, F] : L, C : L
96 − 96.5 C ] : {7, 11, 5} B[ : R, A[ : R, E : R, E[ : L, A : L
96.5 − 97 B[ : {10, 2, 8} B : R, C ] : R, G : R, F] : L, C : L
97 − 97.5 G : {1, 5, 11} B[ : R, D : R, E : R, E[ : L, A : L
97.5 − 98 E : {4, 8, 2} F : R, C ] : R, G : R, F] : L, C : L
98 − 98.5 G : {1, 5, 11} B[ : R, A[ : R, E : R, E[ : L, A : L
98.5 − 99 E : {4, 8, 2} B : R, C ] : R, G : R, F] : L, C : L
99 − 103 C ] : {7, 11, 5} D : R, A : L
26